Lou Reed's album "Magic and Loss" is a introspective and poetic exploration of themes like life, death, love, and loss. Released in 1992, the album was inspired by Reed's personal experiences with the deaths of two close friends, songwriter Doc Pomus and his ex-partner, photographer Tina B. The album consists of 14 tracks, each telling a unique story and delving into the complex emotions associated with mortality. Reed's songwriting throughout "Magic and Loss" is raw, honest, and deeply moving. His lyrics capture the delicate balance between sorrow and acceptance, taking the listener on a journey through reflection, pain, and ultimately, hope. One of the standout tracks on the album is "What's Good," which delves into the existential questions surrounding life and death.
• Shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections all over the world as well as the practices and magical incantations necessary for their preparation
In the form of psyche-magical ointments, poison magic could trigger powerful hallucinations and surrealistic dreams that enabled direct experience of the Divine. He shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections from all over the world as well as the practices and magical incantations necessary for their preparation.
One of the standout tracks on the album is "What's Good," which delves into the existential questions surrounding life and death. With its haunting melody and thought-provoking lyrics, the song forces the listener to confront their own mortality and ponder the meaning of existence. Another notable track is "Magician," which explores the duality of life and death through the metaphor of a magician's act.
The Witches' Ointment
• Shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections all over the world as well as the practices and magical incantations necessary for their preparation
• Examines the practices of medieval witches like Matteuccia di Francisco, who used hallucinogenic drugs in her love potions and herbal preparations
In the medieval period preparations with hallucinogenic herbs were part of the practice of veneficium, or poison magic. This collection of magical arts used poisons, herbs, and rituals to bewitch, heal, prophesy, infect, and murder. In the form of psyche-magical ointments, poison magic could trigger powerful hallucinations and surrealistic dreams that enabled direct experience of the Divine. Smeared on the skin, these entheogenic ointments were said to enable witches to commune with various local goddesses, bastardized by the Church as trips to the Sabbat--clandestine meetings with Satan to learn magic and participate in demonic orgies.
Examining trial records and the pharmacopoeia of witches, alchemists, folk healers, and heretics of the 15th century, Thomas Hatsis details how a range of ideas from folk drugs to ecclesiastical fears over medicine women merged to form the classical “witch” stereotype and what history has called the “witches’ ointment.” He shares dozens of psychoactive formulas and recipes gleaned from rare manuscripts from university collections from all over the world as well as the practices and magical incantations necessary for their preparation. He explores the connections between witches’ ointments and spells for shape shifting, spirit travel, and bewitching magic. He examines the practices of some Renaissance magicians, who inhaled powerful drugs to communicate with spirits, and of Italian folk-witches, such as Matteuccia di Francisco, who used hallucinogenic drugs in her love potions and herbal preparations, and Finicella, who used drug ointments to imagine herself transformed into a cat.
Exploring the untold history of the witches’ ointment and medieval hallucinogen use, Hatsis reveals how the Church transformed folk drug practices, specifically entheogenic ones, into satanic experiences.
Thomas Hatsis is a historian of psychedelia, witchcraft, magic, pagan religions, alternative Christianities, and the cultural intersection of those areas, who holds a master’s degree in history from Queens College. The author of The Witches’ Ointment and Psychedelic Mystery Traditions, he runs psychedelichistorian.com, a site dedicated to promoting the latest and best information pertaining to the Psychedelic Renaissance. He lives in Portland, Oregon.
Thomas Hatsis is a historian of psychedelia, witchcraft, magic, pagan religions, alternative Christianities, and the cultural intersection of those areas, who holds a master’s degree in history from Queens College. The author of The Witches’ Ointment and Psychedelic Mystery Traditions, he runs psychedelichistorian.com, a site dedicated to promoting the latest and best information pertaining to the Psychedelic Renaissance. He lives in Portland, Oregon.
Reed's distinctive vocals and the captivating instrumentation create an atmosphere that is both somber and mesmerizing. "Magic and Loss" is a significant departure from Reed's earlier works, such as "Walk on the Wild Side" and "Perfect Day." It showcases his growth as an artist and his willingness to confront the darker aspects of human experience. Overall, "Magic and Loss" is a powerful and profound album that delves into themes that are universal and deeply relatable. Reed's masterful songwriting and emotive performances make this album an essential listen for any fan of his work or anyone seeking music that tackles the complexities of life and death with sensitivity and depth..
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